A George II Japanned and coromandel lacquer kneehole dressing table or desk in the manner of Thomas Chippendale

the kneehole aperture probably formerly enclosed

In country house condition. Tired with numerous old marks and scratches. Age cracks to the top and sides. General wear consistent with age and losses to decoration. Some retouching to decoration. Left plinth to aperture warped.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Two lacquer commodes of similar form to the present lot, which were supplied by Thomas Chippendale for Harewood House, Yorkshire are illustrated in Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, 2 vols., vol. II, p. 123, pls. 217 and 281. Based on this comparison it would seem feasible that the present desk may have been adapted from a commode with either drawers or a door filling the central aperture. A further connection to Chippendale's cabinet work is provided by the handles here which are similar to those used by his workshop on both the aforementioned lacquer commodes at Harewood and a lacquer clothes press at Nostel Priory, (see Gilbert op. cit., vol. II, pls. 217, 281 and 263).

This desk belongs to a rare group of English furniture created during the 18^th century, reusing panels from earlier Chinese Coromandel lacquer screens.  Its scarcity possibly arises from the material's brittle nature which was not ideal for adaptation to cabinet-work. The name Coromandel is taken from an area on the east coast of India between the Godava River and Nagapatnam which during the late 17th century and the 18th century was occupied by a number of European trading posts. This form of cut and colored lacquer was actually the product of an area in South China called Wenzhou (Zhejiang province) where it was called kuan cai. It was much sought after by Dutch and French traders, and also the English, being known to them as bantam work. The actual technique appears to date from the 16th century, its application being described in a book called Xui Shi Lu, or Notes on the Lacquer Industry and Lacquerware dating from the 16th century. Written by Huang Chen, a well known lacquer artist (1557–1572), which was adapted in 1625 by Yang Ming. Its main use was for large screens of twelve panels being recorded as early as the Northern Song dynasty (960–1126), and remaining as major pieces of household furniture through the 19th century. They were commonly decorated with terrace and riverside scenes, fantastic mythological beasts and birds amidst exotic flowers and trees. Very rarely did these scenes contain European figures; the less elaborately decorated reverse-sides being inscribed with poems of dedication. The screens were made from vertical panels of softwood which were thoroughly smoothed. Any cracks or imperfections were then filled with a mixture of unpurified lacquer, glue, and bone ash, with the occasional addition of silk and hemp fibres. This was then covered with a textile fabric applied to the base with a paste of lacquer and glue. Further layers of a ground coat containing lacquer and burnt bones were then applied. Final coats of lacquer were then laid onto this surface, each application being carefully rubbed down until a lustrous surface was obtained. It was at this stage that the surfaces were cut with sharp knives to provide the detailed decoration which was then colored with oil-based paints.